莎士比亞的著名悲劇《哈姆雷特》，描述丹麥王子哈姆雷特經由鬼魂之詞，得知生父遭其叔父殺害後，經由一系列舉動，計畫報殺父之仇。他的目標，與他的父親(的鬼魂)所渴望的相同；鬼魂與哈姆雷特都渴望復仇。在賈克‧拉康(Jacques Lacan)的主體理論中，個體的主體性建立於他者的慾望。與拉康理論中帶有佛洛伊德色彩的解釋不同，哈姆雷特並沒有因戀母，想成為母親慾望對象(也就是他的父親)的替代者；而是遵守父親的法律，殫精竭慮地想實現他父親所渴望的復仇。 另一方面，中國元雜劇名作《趙氏孤兒大報讎》，同樣以父親被殺，兒子為父報仇為主題。東方的復仇劇與西方大有不同：趙氏孤兒在生父被殺後，由養父養育成人，在其養父的計畫下，又認殺害生父的仇人為義父。孤兒必須在三個父親(生父、養父、義父)中間選擇歸屬。做為趙家後代，孤兒在宗法制度與儒家社會中，必須義無反顧為父報仇。趙氏孤兒的主體性同樣建立於他與父親間的關係之上。 父親被殺，意味著個體的主體性遭到迫害；二位主角必須在他們身邊的父子關係中做出選擇，並藉由復仇重建他們的主體性。本論文將以拉康的理論分析二位失去父親的兒子的主體性，並探究兩齣戲劇中，不同的傳統宗教與文化背景對復仇行動的影響。 In Shakespeare’s tragedy Hamlet, the Prince of Denmark not only loses his father, but also his relationships with others whom he used to rely on to establish his identity. Rather than trying to become the substitute of his father, who is the object of Gertrude’s desire in the viewpoint of Jacques Lacan and his previous Freudian scholars’, Hamlet strives to fulfill his father’s desire to revenge. The theme of the lost father is also seen in Chinese Yuan Dynasty Play The Orphan of Zhao. Having lost his biological father, the orphan of Zhao also loses his identity as the firstborn descendant of the Zhao’s clan. The killer of his biological father and family members later becomes his father in honour. The grown orphan has to figure out which of his three fathers (the biological father, the adoptive father and the godfather) he should pay his filial piety to and whether he should revenge for his biological father. The revenges in the two plays have their meanings for the two avengers to restore their subjectivity, and contain the cultural and religious significance. This thesis discusses the religious and psychological factors that lead to the different consequences of the two plays based on the notion of ‘revenge’.
